At some point in the murky past (that is, 2019), Kaaren, Adelaide, and I made a joke about how we’re the three Fates. I am, of course, the spinner Clotho, Adelaide the measurer Lachesis, and Kaaren the inflexible/cutter Atropos. When we discovered that we all had bought (or wanted to buy) the same grey linen, we decided to make Fates-themed garb in our preferred styles (we also managed to be chronological as well!). For a deadline, we set Twelfth Night 2020.
Because I was doing early period English, I felt a little guilty that my garb wouldn’t be as complicated and require as much hard work as Adelaide and Kaaren’s. So I decided to make everything I wore.
In the summer of 2019, I went on a small jewellery/beading jag.
Left, top to bottom: necklace that doubles as circlet made of amber on beader’s wire; amber drop earrings; glass bead swag with removable beads (cord is beader’s wire with silver beads); amber and copper bead swag on beader’s wire for Old English garb (with brooches). These are all for wearing with my Old English garb.
Right, left to right: Pearl-and-amber paternoster on silk with silk tassel; green-stone-and-amber paternoster on cotton with cotton tassel; green stone prayer beads on cotton with cotton tassel. The first two paternosters are to wear with my 14th-century garb, while the prayer beads are for my Ottoman garb.
I made this bag for Lochmere Midwinters in January 2019 as part of their Pilgrim Bag competition. The picture shows the fabric a much darker blue than it is in real life.
Materials & Techniques
Outside Bag Body
Material: Wool, handwoven on a rigid heddle loom, fulled, and hand-dyed in indigo
Techniques: Handsewn with commercially-dyed wool
Materials: Linen (commercially woven)
Techniques: Handsewn and felled with cotton thread
Materials: Commercially-dyed wool in Atlantian colors
Techniques: Inkle-woven and handsewn onto the bag’s back
Fluffy fluffy goodness made of wool
Don’t worry! The badge hasn’t gone missing: this is the bag’s first “pilgrimage,” so it does not have a badge yet! After this event, I will sew a badge (perhaps a Spike?) to the front flap.
Pattern & Construction
Thanks to Mistress Karen Larsdatter’s links pages, I first found the pattern by Sabine Scholl, the pattern by Myriam Gateault, and the translation of Scholl’s pattern by Lord Coblaith Muimnech (Ansteorra). In several manuscript images on these pattern pages, there were blue bags with white tassels and details (Atlantian colors!). I then remembered the wool cloth that I had handwoven, fulled, and dyed in indigo—it would be perfect for this bag! Addendum 2019: I used a small rigid-heddle loom to weave the cloth out of a rough commercial wool; I then fulled wool by putting it in my home’s washer/dryer and forgetting about it!
While I prefer the look of the trapezoidal bag in these patterns and illuminations, I wanted to use every inch of my handwoven/hand-dyed fabric, so I settled on a rectangular bag (but still with tassels, because who doesn’t love tassels?). Because the final construction was simple folding and bag-lining (pun definitely intended), I did not use a pattern; I relied on the dyed fabric’s width and cut the lining to match.
Finally, while straps in illuminations are usually a single color, I wanted to reinforce the Atlantian colors of the bag body, so I patterned the inkle-woven strap with white and multi-toned, asymmetrical blue stripes. I wove a long enough piece to serve as a strap, then sewed it to the back of the bag to create the same visual, from the front, that I saw in the exemplars. Addendum 2019: I used a modern inkle loom to weave the strap. The asymmetrical blue stripes were a necessity, as I had a limited amount of match yarn remnants!
These three exemplars gave me confidence that a blue-and-white square bag with tassels could be possible across multiple centuries.